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Ann Crumb: From my Memoir, 200 Times a Year. My Life in, At and Around the Theatre

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I first saw Ann during the summer of 1972. I was working on the University of Michigan grounds crew, starting grad school in the fall. I was on the grass cutting crew, but it hadn’t rained for eight weeks so there was no grass to cut. When we came in every morning, essentially we were told to go someplace and lay low. I chose the Undergraduate Library, where I sat and read plays all day. One day, tired of all that reading, I moseyed over to the Theatre Dept. to scope it out and heard a rehearsal going on in the Trueblood Audition, so I slipped in and sat in the back to watch. An energetic little man (more about him in another chapter) was staging a scene from A Funny Thing Happened On The Way To The Forum. It was the scene at the house of Marcus Lycus, with the three courtesans. I couldn’t take my eyes off the girl playing Tintinnabula, who was a wonderful dancer and very beautiful. Of course, this was Ann.

Ann was not a theatre student — she was getting a degree in speech pathology – but she was one of the stars of the Ann Arbor theatre scene. I didn’t really know her very well, though,  until after I moved to New York. I went to see a children’s play by David Mamet, Revenge Of The Space Pandas, at St. Clements, to see an actress who was in a play I had directed off off Broadway. Ann came to the play, too, to see her friend Margo Martindale (more about her in another chapter), and we reconnected. She invited me over to her apartment for dinner, and we really hit it off. I lived nearby, so I started spending most evenings there when I wasn’t at the theatre.

Bob DeFrank and Ann Crumb in a scene from Witkacy’s The Madman and the Nun

After finishing her degree, Ann had moved to Philadelphia to work at a hospital there, treating aphasia in people who had had a stroke. She missed the theatre, though, so she auditioned for a class at the Hedgerow Theatre. This was typical of her, thinking she needed to take a class. Ann had a huge inferiority complex. Well, after her audition they offered her a job on the faculty, so she taught at Hedgerow for a while in the evenings, after a full day at the hospital. Then a non-Equity touring production of El Grande De Coca Cola in Philly lost an actress, so the producer called the Hedgerow and asked if they could recommend anyone. They recommended Ann and she got the job. From that, she went into a production in Philly of Starting Here, Starting Now, a revue of the songs of Richard Maltby and David Shire, which got her her Equity Card. She then did a couple of seasons at the Philadelphia Theatre Co., playing Ophelia opposite John Glover’s Hamlet and several other roles, before moving to New York. When I reconnected with her, she was working as a secretary in a law office. She wasn’t even auditioning. Well, I viewed this as a huge waste of talent, so I made it my obsession to help her believe in herself again, and to get her back to the theatre. She was full of excuses. She said she couldn’t audition because she had a lousy headshot, so I gave her money for a new one. Then she decided she needed her hair styled before she could go to a photographer, so I gave her money for that. She spent my dough on vet bills for dogs she had rescued. She was an indefatigable dog-rescuer. Finally, she got her hair done and her new headshot, and started going to Equity open calls, mainly for musicals. In those days, open calls actually could lead to a job.

By this time, I was head over heels in love with her.

Around about then, she got her first agent. I took her to a French restaurant, A La Fourchette (which closed many years ago, alas), to celebrate. Bob Bennett, a stage manager friend of mine, had told me I had to see a show which was getting a lot of buzz, playing late nights after his show at what is now the Westside Arts Theatre, a revue about the Boswell Sisters called The Heebie Jeebies, so we went to see it. This turned out to be Pump Boys And Dinettes. What a night! After it transferred, I saw the show several times. It’s one of my all-time faves.

Ann finally got a Big Break when she was cast as Andrea Marcovicci’s understudy in the title role of the musical Nefertiti, which was to open in Chicago before coming to Broadway. Alas, the show closed in Chicago. When she got back to New York, she decided she needed a vocal coach. Bill Schuman, one of the top ones, told her she had to audition for him. At the time, Bill was the vocal coach for Evita, which was casting its first national tour. After hearing her sing, Bill called the casting director and said he had in his studio one of the greatest voices he had ever heard. She auditioned, but the producers decided to go with an actress who had done the role on Broadway since there was only going to be a week of rehearsals. Harold Prince’s assistant was starting to direct productions around the country, though, and he started to cast Ann; so she played Eva Peron at several theatres. I saw her at Theatre by the Sea in Rhode Island. She was astounding.

Her next Big Break came when she was cast in the ensemble of Les Miserables, understudying Randy Graff as Fantine. When Randy left for a week’s vacation, Ann went on. She invited me, and this was one of my greatest nights at the theatre. I still get chills when I hear her voice in my head, singing “I Dreamed a Dream.” She did the show for several months, then Trevor Nunn cast her in the ensemble of Chess, understudying the roles of Florence and Svetlana. Marcia Mitzman (Svetlana) was sick during most of the preview period, so Ann did therole, wonderfully. She then was cast as Fantine in the first national tour of Les Miserables.

While she was at the Walnut Street Theatre in Philadelphia, she got a call to audition for a supporting role in a new Andrew Lloyd Webber musical which was opening in the West End, so she came back to New York for her audition. The casting director heard her sing and then asked her to sing a couple more songs. While this was going on, who should barge in but Lloyd Webber himself, wanting to know who that voice was. He took her into another room, played the score of Aspects Of Love and asked her to sing the songs he had written for Rose Vibert, the female lead. The next day, she was cast in the role, starring opposite Michael Ball.

Aspects Of Love was a huge hit in London, and Ann was the toast of the town. Well into the run, she was injured when a treadmill came on too early in a blackout while she was changing costumes. It caught the heel of her shoe and dragged her across the stage, jamming her foot into where the treadmill went back under the stage, mangling it. She was rushed to a hospital, where she got a big surprise: her insurance through American Equity wouldn’t cover her because she was not acting in an American show. She was part of the exchange program between the Equities. When the unions had set up this program, apparently what would happen if someone got hurt had never occurred to them. Her only option was to sue the producer, Lloyd Webber’s Really Useful Company, and the theatre owner, Cameron MacIntosh. While this was going on, she had several operations on her foot, although she was told she would probably never be able to perform again, or possibly even walk. Eight months later, she opened on Broadway, wearing special orthopedic shoes designed for her foot. In London, the stage floor had been cobbled. On Broadway, the cobbles were two-dimensionally painted so Ann could walk.

with Michael Ball

By this time, Frank Rich of the NY Times had decided he had had it with “bloated British mega-musicals,” so he panned the show. Despite this, it held on, building an audience, so the Times began running negative pieces about it, trying to twist the knife. Although the show was nominated for a Tony Award, Ann herself was snubbed. Ann’s contract for Broadway was for six months, near the end of which Lloyd Webber decided he could turn the show into a hit by replacing Ann with a star. The role was offered to several stars, one of which was Patti Lupone, who told the casting director that she was unavailable as she was in a TV series and, anyway, she couldn’t sing the role. She said she knew of only one actress who could sing it. “Who?” asked the casting director. To which Lupone replied, “Ann Crumb.” She then called Ann and told her about this, which is when Ann learned that she was being replaced. Then Sarah Brightman, Lloyd Webber’s estranged ex-wife who had become a star when she played Christine in The Phantom Of The Opera, decided she would like to play Rose. She was angry that the film of The Phantom Of The Opera in which she was to play Christine was delayed and Andrew wanted to mollify her as the couple were in the midst of a contentious divorce, so he gave her the role. He then closed down the production and rehearsed Sarah for three weeks with a full orchestra and cast. He also reorchestrated the role, lowering it so she could sing it. It was the most expensive cast replacement in Broadway history. When Sarah was ready, critics were reinvited. They were unimpressed (particularly, Rich), so the show closed a few weeks later.

with Michael Ball

Meanwhile, Ann’s suit was settled out of court and she received a big chunk of money, which she used to buy the second floor of an old church in Brooklyn Heights, which she converted into a fabulous loft with stained glass windows and a cathedral ceiling. Her career, though, was irrecoverably damaged. She had become persona non grata to the casting directors, who were afraid of incurring the wrath of Lloyd Webber and MacIntosh. Was she blacklisted? It’s hard to say, but she it’s undeniable that she went from being considered for every show to having no auditions.

https://youtube.com/watch?v=-iZzx18E8HM

A year or so later, I got a call from Nancy “Pinkie” Bosco, Circle in the Square’s literary manager (as well as the wife of the great actor Philip Bosco). Pinkie told me that the theatre was going to do a production of a musical version of Tolstoy’s Anna Karenina and asked me if I could recommend anyone for the title role. They had done a workshop of the show with Melissa Errico as Anna, but had decided she was too young for the role. They had considered several actresses recommended by their casting director but felt none were suitable. Mind you, this was at a time when the casting directors seemed to have “forgotten” about Ann. Pinky hadn’t, though, and when I told her Ann was perfect for the role she agreed, and Theodore Mann, the theatre’s Artictic Director (who was directing the show) cast her. The show wasn’t very good, partly because Ted Mann was not an experienced director but mostly because the two guys who wrote it hadn’t seen Les Miserables. How can you do a musical adaptation of another great 19th Century novel without having bothered to see Les Miserables? Although the reviews for the show weren’t very good, Ann’s notices were excellent and she received a Tony nomination. Alas, Anna Karenina was Ann’s last Broadway show.

In London, though, she was still a star from Aspects Of Love. She played Louisa in the London premiere of Nine, opposite Jonathan Pryce as Guido Contini. There is a recording of this production on You Tube, so you can hear her thrilling renditions of Louisa’s two songs, “My Husband Makes Movies” and “Be On Your Own.” She also starred in the London production of The Goodbye Girl, in the role originated on Broadway by Bernadette Peters. Back in the U.S., she did tours, most notably a hugely successful one of Man Of La Mancha, in which she played Aldonza opposite John Cullum’s Cervantes/Quixote. I saw it in Baltimore and Ann received a screaming standing ovation at her curtain call. She was offered the role in a Broadway revival but then the offer was withdrawn when the producers decided they needed a bigger “name,” who turned out to be singer Sheena Easton. The show flopped.

Ann also did some work Off Broadway. She was excellent in a revival of RAGS at the American Jewish Theatre, in which she played the role originated on Broadway by opera star Teresa Stratas and was hilariously evil in a musical version of the film Johnny Guitar, although one legacy of that was that she injured her knee during a fight scene and eventually had to have knee replacement surgery. About this time, she started doing shows in the Philadelphia area, where she was sort of “local girl makes good.” She did Goblin Market at the Wilma Theatre and several shows at the Media Center for the Performing Arts, where she played Florence Foster Jenkins in Souvenir and Maria Callas in Master Class. The last show she did there was a scaled down production of Sunset Boulevard, as Norma Desmond, a role she had played two or three times before at theatres arund the country. Anne was a coloratura soprano, but in “New Ways to Dream” she went down into the depths of her range and was astounding. I blurted out, “Oh my God!” when she did this. I couldn’t help it. When she came out afterwards, she asked me “Was that you? I knew that was you!”

At this point, I have a few personal anecdotes about Ann to share with you. Ann loved Snickers bars. I always brought her a couple of them when I took her to the theatre. One night about eleven o’clock, early on in our relationship, my phone rang. I was in bed, asleep. I picked up my phone and heard, “Snick! Snick!” I got dressed and went out into a driving rain to find her some Snickers bars figuring, finally, this was gonna be my night.The entrance to Ann’s apartment was in the rear of a house. There was an alleyway which led to a heavy, black, steel door which opened onto the street. I rang her buzzer and heard her walking down this alleyway. Then the black door opened with a creak and I heard, “Did you get them? “Yes, Ann,” I said, and held up the bag of Snickers bars. A hand reached out through the door opening and took them. “Thank you,” she croaked, and then the door slowly closed with a creak and a clang. I trudged back in the rain to my apartment.

Ann could be quite a handful. She was, to put it mildly, time-challenged. Whenever I took her to the theatre she would always ask me what time she needed to be ready, and I would always tell her fifteen minutes before the actual time, in order to get to wherever we were going on time. She and her boyfriend Vince lived together when Ann moved to Brooklyn Heights, and he became one of my dearest pals, almost like a brother. Once, he told me, Ann was flying off to do a show, but she dithered and dithered. Vince kept silent, knowing if he bugged her about the time she would Just. Go. Slower. Predictably, she missed her flight. Vince helped her book another one, which was four hours later. Then he wished her a good flight and turned to leave. Ann was flabbergasted. “Aren’t you going to wait with me? She asked. “No, Ann,” Vince replied. “I want you to sit there by yourself for four hours and think about why it was that you missed your flight.”

As I mentioned earlier, Ann was a dedicated dog rescuer. She always had a least two – sometimes, three — dogs living with her. She would find dogs on the street, pay vet bills for them and then place them far and wide. She spearheaded the rescue of the dogs orphaned by Hurricane Katrina, hundreds of them, organizing caravans to deliver them to new homes all over the country. One day, I went over to her apartment to visit her and she asked me to drive her around Brooklyn Heights to look for a stray she had seen earlier in the day. After about two hours, we were unsuccessful in our search – but she wanted to keep going. It drove her nuts that she never found this dog. She paid thousands of dollars to kill shelters to hold off euthanizing dogs until she could find them homes. Let me tell you, there is a special shrine in Doggy Heaven dedicated to Ann Crumb.

Ann’s father, George Crumb, was a Pulitzer Prize-winning composer. He began writing vocal music, and Ann sang it all over the world and recording Grammy-nominated albums. She also had an act in which she sang jazz, performing this worldwide and recording an album, “A Broadway Diva Swings.” You can hear her on You Tube singing some of her father’s compositions as well as the best songs from her jazz album.

in Sunset Boulevard

In 2017, Ann was diagnosed with advanced ovarian cancer. She had it all cut out and went through chemotherapy. Finally, it was in remission; but in 2019, it came back, spread all through her. She started hemhorraging and was taken to the emergency room, but it was too late. She was brought home to her parents’ house in Media to die. I drove out there to see her one last time. She weighed less then 90 ponds and was so heavily-sedated it was like she was in a coma. I sat vigil along with Vince, her family and several friends. A day later she died, never regaining consciousness.

When I get to Heaven, I plan to look for her. I’ll just listen for the sound of barking dogs.

For over thirty years, Lawrence Harbison was in charge of new play acquisition for Samuel French, Inc., during which time he was responsible for the publication of hundreds of plays, by new playwrights such as Jane Martin, Don Nigro, Tina Howe, Theresa Rebeck, William Mastrosimone, Charles Fuller and Ken Ludwig among many others; and the acquisition of musicals such as Smoke on the Mountain, A…My Name Is Alice and Little Shop of Horrors. He has edited over 100 anthologies for Smith and Kraus, Inc. For Applause Theatre & Cinema Books, he has edited several monologue, full length, 10-minute and 5-minute play anthologies. Currently, he is editing books solely for Applause. He has set up a new division for Applause to publish and license individual full length plays, as well as the World Premiere Club. His column, “On the Aisle with Larry,” appeared in the Chelsea Clinton News and the Westsider for several years and then moved to www.smithandkraus.com. In December of 2019, it began running on the Applause website, www.applausebooks.com. It also appears on his blog at www.playfixer.com and on www.doollee.com, the international playwrights database. He also writes occasional columns for Theatre Record, a London-based magazine. He was a member for many years of two NYC press organizations, the Outer Critics Circle and the Drama Desk, and served on the Drama Desk Awards Nominating Committee for the 2010-2011 and 2011-2012 seasons. He works with individual playwrights to help them develop their plays (see his website, www.playfixer.com). He has also served as literary manager or literary consultant for several theatres. He taught playwriting in the Theatre Dept. of the University of Michigan in the winter semester of 2016. He holds a B.A. from Kenyon College and an M.A. from the University of Michigan. His book, How I Did It: Establishing a Playwriting Career, a collection of interviews with playwrights, was published by Applause Theatre & Cinema Books in March, 2015. His latest anthologies of monologues and 10-minute plays were published in December, 2019 by Applause Theatre & Cinema Books.

Broadway

Disney Broadway In Bryant Park

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106.7 LITE FM’s Broadway in Bryant Park brought Disney to its 2024 program. The Bryant Park stage is located at 6th Avenue between 40th and 42nd Streets. Lawn seating is first come, first serve.

This weeks performances came from Aladdin‘s Michael James Scott, Sonya Balsara and Adi Roy

Frozen’s Charissa Hogeland and Chad Burris

And The Lion King’s Tshidi Manye, Jim Ferris, Jackie René, Ben Jeffrey and Gilbert Domally

The hosts were Paul ‘Cubby’ Bryant and Christine Nagy.

 

 

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A Tribute to Tony Award-Winning Composer Steven Lutvak

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NYU Skirball Center will honor the late Tony Award-winning composer Steven Lutvak, the musical mind behind the Tony Award-winning musical A Gentleman’s Guide to Love and Murder, with performances and tributes from family and friends in a celebration of his life on Thursday, July 18 – which would have been his 65th birthday – at 3:00 PM. The event will include performances by Broadway Inspirational Voices, Crystal Monee Hall, Bryce Pinkham, Catherine Walker, Scarlett Strallen, Catherine Porter, Lori Wilner, and Jenna Pastuszek, and feature songs from A Gentlemen’s Guide to Love and Murder (Tony Award for Best Musical, 2014), his albums Ahead of My Heart and The Time It Takes, and several never-before heard works-in-progress. Admission is free, but reservations are encouraged. For tickets, please visit tickets.nyu.edu/stevenlutvak

Born and raised in the Bronx, Mr. Lutvak was a talented multi-hyphenate, working as a cabaret performer, music arranger, director, and as a performance coach in addition to his songwriting and compositional work. As a singer-songwriter, he performed across the country, including successful New York engagements at Carnegie Hall, which led to releasing two albums, The Time It Takes and Ahead of My Heart.

Mr. Lutvak made his Broadway debut with A Gentleman’s Guide to Love and Murder in 2014, for which he composed the music, and co-wrote the lyrics with Robert L. Freedman. The musical won the Drama League, Outer Critics Circle, Drama Desk and Tony Awards for Best Musical. The pair had previously written the musical Campaign of the Century together, which won the California Musical Theater Competition from the Beverly Hills Theater Guild.

Other musicals by Mr. Lutvak include Almost September, The Wayside Motor Inn (an adaptation of a play by A. R. Gurney), and Esmeralda. For the screen, Mr. Lutvak composed the title track for the film Mad Hot Ballroom, and the score to Anything But Love, starring Eartha Kitt and Andrew McCarthy. Mr. Lutvak was a highly awarded composer, receiving the Kleban Award for Lyric Writing for the Theater, the Fred Ebb Award for Songwriting for the Theater alongside Freedman, the American Theatre Wing’s Jonathan Larson Grant, the Johnny Mercer Foundation’s Emerging American Songwriter Award, two Bistro Awards, three MAC Awards, and multiple ASCAP Awards.

In his later years, Mr. Lutvak worked as an adjunct professor at his alma mater, the New York University Graduate Musical Theater Writing Program.

Mr. Lutvak died October 9, 2023 at the age of 64. He is survived by his husband, Artistic Director of Flight Path Dance Project, Michael McGowan, and their daughter, Eliot Rose Lutvak-McGowan.

The tribute to Steven Lutvak will take place at NYU Skirball Center, located at 566 LaGuardia Place, between West 4th and West 3rd Street, on Thursday, July 18 at 3:00 PM. Running time is 90 minutes with no intermission. Admission is free, but reservations are encouraged. For tickets, please visit tickets.nyu.edu/stevenlutvak

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Theatre News: Teeth, Soft Power, Redwood, BOOP! The Betty Boop Musical and Pre-Existing Condition

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Jenna Rose Husli, Wren Rivera, Alyse Alan Louis, Phoenix Best and Helen J Shen in Teeth (Photo: Chelcie Parry)

Teeth is coming back to New World Stages in the fall for an open-ended run. The transfer begins on October 31, Halloween night, as its official opening. While casting for the commercial remount is yet to be announced, the Playwrights Horizons cast featured Alyse Alan Louis, Steven Pasquale, Will Connolly, Jason Gotay, Jared Loftin, Courtney Bassett, Phoenix Best, Jenna Rose Husli, Lexi Rhoades, Wren Riveras and Helen J. Shen.

The off-Broadway cast album for Teeth, written by written by Pop! creator Anna K. Jacobs (book and music) and Pulitzer Prize-winning A Strange Loop creator Michael R. Jackson (book and lyrics), is now available to stream on all major music platforms. The physical CD will be released August 30. Teeth opened its off-Broadway world premiere at Playwrights Horizons in March with direction by Sarah Benson and choreography by Raja Feather Kelly.

Based on Mitchell Lichtenstein’s screenplay for the cult-classic 2007 horror comedy, Teeth is a tale of revenge and transformation that tears through a culture of shame and repressed desire one delightfully unhinged song at a time. The musical follows Dawn O’Keefe, an evangelical Christian teen struggling to be an exemplar of purity amongst her community of fellow Promise Keeper Girls. As Dawn’s desires become tested and twisted by the men in her life, she discovers a deadly secret not even she understands: when men violate her, her body bites back—literally.

I loved Jeanine Tesori and David Henry Hwang’s SoftPower when it appeared at The Public, now it’s coming to the Signature Theatre in Washington  D.C., newly revised production and directed by Signature Associate Artistic Director Ethan Heard. The show opens August 6 and runs until September 15. Could NYC be next? The cast will feature Steven Eng as DHH, Daniel May (Flower Drum Song) as Xue Xing, and Grace Yoo (Hadestown) as Hillary Clinton with Eymard Cabling (Miss Saigon national tour) as Randy Ray and others, Andrew Cristi (A Christmas Story) as Chief Justice and others, Jonny Lee Jr. as Bobby Bob and others, Quynh-My Luu as Waiter and others, Christopher Mueller as VEEP and others, Ashley D. Nguyen as Jīng and others, Chani Wereley as Betsy Ross and others, Nicholas Yenson as Holden Caulfield and others, and Sumié Yotsukura as Flight Attendant and others. Olivia Clavel-Davis, Brian Dauglash, Emily Song Tyler, and Joey Urgino are swings.

After the 2016 election, when a Chinese American playwright is attacked by an unknown assailant, he hallucinates a Golden Age musical comedy about a Chinese theater producer and Hillary Clinton falling in love. Hilarious and biting, this political satire dares to ask: Does American Democracy still work? And is it worth believing in?

An exhilarating ride through political absurdity with a faceoff between Chinese and American exceptionalism, Soft Power makes an electric debut in the nation’s capital.

Idina Menzel, will open at the Nederlander Theatre in Redwood. This new Broadway musical starts previews January 24,  with a February 13 opening. Written and directed by Tony Award nominee Tina Landau, Redwood features music by Kate Diaz and lyrics by Diaz and Landau. The show is conceived by Landau and Menzel, with additional contributions by Menzel. The musical premiered earlier this year at La Jolla Playhouse. “I made my Broadway debut at the Nederlander Theatre in Rent almost 30 years ago, so to be returning there with Redwood is very emotional for me as it feels like a real homecoming. It has been such a gift to collaborate with Tina and Kate on this show, and I’m so proud to bring it to Broadway” stated Menzel. Redwood follows Jesse (Menzel), a successful businesswoman, mother and wife who seems to have it all, but inside, her heart is broken. Finding herself at a turning point, Jesse leaves everyone and everything behind, gets in her car and drives. Thousands of miles later, she hits the majestic forests of Northern California, where a chance meeting and a leap of faith change her life forever.

BOOP! The Betty Boop Musical has found is set to open at Broadway’s Broadhurst Theatre on April 5, 2025. Tony Award®-winning director/choreographer Jerry Mitchell brings the Queen of the Animated Screen to the theater  with celebrated multiple Grammy® Award-winning composer David Foster, Tony Award®-nominated lyricist Susan Birkenhead and Tony Award®-winning book writer Bob Martin. This score is fabulous and we can’t wait to hear the rest of it.

Edie Falco Photo by Emilio Madrid

Today, producers O’Henry Productions, The Cohn Sisters, Jessica Chase, Taylor Williams, David Blum, Jesse Eisenberg and Charlie Kaufman announced that Pre-Existing Condition by Tony Award® nominee Marin Ireland will extend for two weeks through August 17 and will star Emmy Award® winner Edie Falco in the rotating role of “A” beginning on August 6

Pre-Existing Condition, directed by Maria Dizzia, is currently playing at the Connelly Theater (220 East 4th St.) in the intimate 60-seat Upstairs space. The play was originally set to close on August 3.

Pre-Existing Condition is a play exploring the challenges, shared community, and everyday indignities of learning to move forward after a life-altering, harmful relationship.

About the play, Ms. Falco said, “I am thrilled at the opportunity to be a part of something that moved me so much as a spectator. It involves an intimacy and vulnerability that I’ve sorely missed in the theater. I can’t wait to work with these people who I deeply respect so that hopefully more people can see and feel what I did when I saw the play.”

The role of “A” has rotated throughout the production and is currently played by Tony Award® winner Deirdre O’Connell (Dana H.). Tavi Gevinson (“American Horror Story”) will play the role from July 24-August 3 with Ms. Falco starting August 6-August 17. Previously, the role was played by Emmy Award® winner Tatiana Maslany (“Orphan Black”), Julia Chan (Uncle Vanya) and Tony Award® nominee Maria Dizzia (In the Next Room).

The cast also includes Sarah Steele (“The Good Fight”), Dael Orlandersmith (Pulitzer Prize Finalist, Yellowman), Greg Keller (Alliance); with Raquel Chavez (Uncle Vanya) and Gregory Connors (The Sign in Sidney Brustein’s Window), understudies.

Tony Award® nominee Anne Kauffman (Mary Jane) serves as Creative Consultant on the production. In addition to Ms. Kauffman, the creative team includes Louisa Thompson (A Simulacrum), Set Designer; Tony Award® nominee Enver Chakartash (Stereophonic), Costume Designer; Tony Award® nominee Isabella Byrd (Enemy of the People, Cabaret at the Kit Kat Club), Lighting Designer; Tony Award® nominee Palmer Hefferan (The Skin of Our Teeth), Sound Designer. Taylor Williams is Casting Director, Ashley-Rose Galligan is Production Stage Manager, Eric Nolan Mattingly is Assistant Stage Manager with Wagner Johnson Productions serving as General Management.  Associate Producer is Joe Meyer. David Manella at Loeb & Loeb LLP serves as Production Counsel.

For information on performance dates, ticketing lottery information please visit preexistingconditionplay.com. Tickets start at $49.

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Hell’s Kitchen And New York Liberty Host Block Party At Block Party

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The new musical Hell’s Kitchen will be the presenting sponsor of the New York Liberty’s game today July 16th. As a celebration of New York culture, Hell’s Kitchen and the New York Liberty will host a free open-to-the-public Block Party for fans on Tuesday, July 16 from 3:00-6:00 p.m. on the Ticketmaster Plaza at Barclays Center. The New York Liberty continue to underscore their intentional focus to bring together its passionate community and fanbase.

To emphasize the unique intersection of sport and theater, the Block Party will include a meet and greet with select cast members of Hell’s Kitchen, special performances from the New York Liberty Entertainment team and the Brooklyn Elite Jumpers Double Dutch, exclusive giveaways from Keys Soulcare and American Express, food vendors and more!

The festivities will continue during the New York Liberty’s game against the Connecticut Sun, where the Liberty aim to build upon the historic momentum experienced throughout the 2024 WNBA season. During the game, there will be a special halftime performance choreographed by Hell’s Kitchen’s choreographer Camille A. Brown and associate chorographer Rickey Tripp featuring the New York Liberty mascot, Ellie the Elephant, and dance team, as well as an on-court giveaway where two fans will have the chance to win tickets to an upcoming Hell’s Kitchen performance.

Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you’ve never felt before – Hell’s Kitchen, a new musical from 16-time Grammy® Award winner Alicia Keys, whose songs and experiences growing up in NY inspire a story made for Broadway.

Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, Hell’s Kitchen is a love story between a mother and daughter.  It’s about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin.

The “powerhouse cast” is led by Tony Award® winner Maleah Joi Moon, Shoshana Bean, Brandon Victor Dixon, Tony Award® winner Kecia Lewis and Chris Lee. Hell’s Kitchen is directed by four-time Tony Award® nominee Michael Greif, with choreography by four-time Tony Award nominee Camille A. Brown, a book by Pulitzer Prize finalist and Tony Award nominee Kristoffer Diaz – and the music of Keys, featuring new songs and her greatest hits.

The Hell’s Kitchen Original Broadway Cast Recording is available now via Alicia Keys Records/Interscope Records on streaming and digital platforms worldwide with a physical release to follow.

Hell’s Kitchen lottery tickets are available through a digital lottery the day before the performance at rush.telecharge.com. The digital lottery opens at rush.telecharge.com at 12AM (ET) one day before the performance with winners announced that same morning at 10AM (ET), with a second announcement of additional winners that afternoon at 3PM (ET). Winners may purchase up to two tickets at $39 each (inclusive of $5 service fee), subject to availability. Seats may be partial view.

A limited number of in-person Hell’s Kitchen rush tickets will be available on the day of each performance for $39 per ticket when the Shubert Theatre box office opens. Maximum of two tickets per person, subject to availability. Seats may be partial view. The box office opens Monday through Saturday at 10AM (ET) and Sunday at 12PM (ET).

Tickets for Hell’s Kitchen are available at HellsKitchen.com and Telecharge.com. Tickets can also be purchased at the Shubert Theatre box office. Ticket prices range from $59-199.

Season ticket memberships and single game tickets for New York Liberty home games at Barclays Center are on sale now via Ticketmaster. To learn more and view additional ticketing options such as group tickets and ticket plans, visit liberty.wnba.com/tickets.

The performance schedule for Hell’s Kitchen is Tuesday, Thursday and Friday at 7PM, Wednesday at 7:30PM, Saturday at 8PM, with matinees on Wednesday and Saturday at 2PM, and Sunday at 3PM.

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Broadway

Broadway in Bryant Park And You Are There With Hell’s Kitchen, Water For Elephants, The Wiz and More

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July 11, 106.7 LITE FM’s Broadway in Bryant Park kicked off its 2024 program, bringing the best of Broadway back together for free performances, every Thursday in July.

From AMDA College of the Performing Arts-Kyle Taylor Parker

From AMDA College of the Performing Arts-Kyle Taylor Parker, Charity Arianna , Destiny David, Ailadis Hernandez De Leon, Nyjair Wilkerson and Jackson Bateman

This week’s performances included: a preshow featuring students from AMDA

Ali Louis Bourzgui

Bobby Conte and Ali Louis Bourzgui

Bobby Conte, Ali Louis Bourzgui and Adam Jacobs

Ali Louis Bourzgui, Bobby Conte,

Lily Kren, Alexandra Matteo, Daniel Quadrino, Jenna Nicole Schoen, Nathan Lucrezio, Reagan Pender, Bobby Conte, Tyler James Eisenreich, Mark Mitrano, Haley Gustafson, Afra Hines, Dee Tomasetta, Adam Jacobs, Ali Louis Bourzgui, David Paul Kidder, Jeremiah Alsop, Andrew Tufano and Ronnie Bowman, Jr.

The Who’s Tommy (Ali Louis Bourzgui, Adam Jacobs, Bobby Conte, Haley Gustafson and more)

Isabelle McCalla and Ken Wulf Clark

Ken Wulf Clark

Joe De Paul and Asa Somers

Isabelle McCalla and Ken Wulf Clark

Isabelle McCalla and Ken Wulf Clark

Isabelle McCalla and Ken Wulf Clark

Joe De Paul, Asa Somers and Sara Gettelfinger

Joe De Paul, Asa Somers and Sara Gettelfinger

Joe De Paul, Asa Somers and Sara Gettelfinger

Joe De Paul, Asa Somers and Sara Gettelfinger

Ken Wulf Clark, Sara Gettelfinger, Joe De Paul and Asa Somers

Ken Wulf Clark, Sara Gettelfinger, Joe De Paul and Asa Somers

Ken Wulf Clark, Joe De Paul, Asa Somers and Isabella McCalla

Water for Elephants (Isabelle McCalla, Ken Wulf Clark, Asa Somers, Sara Gettelfinger, Joe De Paul)

Avery Wilson

Kyle Ramar Freeman and Nichelle Lewis

Kyle Ramar Freeman

Kyle Ramar Freeman

Melody A. Betts

Kyle Ramar Freeman

Nichelle Lewis

Nichelle Lewis, Kyle Ramar Freeman, Avery Wilson and Polanco Jones Jr.

Kyle Ramar Freeman, Avery Wilson and Polanco Jones Jr.

Kyle Ramar Freeman, Polanco Jones Jr., Nichelle Lewis, Melody A. Betts and Avery Wilson

The Wiz (Avery Wilson, Kyle Ramar Freeman, Melody A. Betts, Nichelle Lewis, Polanco Jones Jr.)

Jelani Remy

JJ Niemann

Evan Alexander Smith and JJ Niemann

Evan Alexander Smith and JJ Niemann

Evan Alexander Smith and JJ Niemann

Evan Alexander Smith and JJ Niemann

Jelani Remy and JJ Niemann

Jelani Remy and JJ Niemann

Jelani Remy and JJ Niemann

Evan Alexander Smith, Katie Laduca, JJ Niemann and Aaron Alcaraz

Hannah Kevitt and JJ Niemann

Evan Alexander Smith, JJ Niemann, Jelani Remy and The Cast of Back To The Future that includes Hannah Kevitt, Cixtoria Byrd, Kimberly Immanuel, Jessie Peltier, Gregory Carl Banks Jr., Katie Laduca, Joshua Kenneth Allen Johnson and Aaron Alcaraz

Evan Alexander Smith, JJ Niemann, Jelani Remy, Hannah Kevitt, Cixtoria Byrd, Kimberly Immanuel, Jessie Peltier, Gregory Carl Banks Jr., Katie Laduca, Joshua Kenneth Allen Johnson and Aaron Alcaraz

Back to the Future (Jelani Remy, JJ Niemann, Evan Alexander Smith)

Gianna Harris and Lamont Walker II

Lamont Walker II

Jade Milan, Jackie Leon and Gianna Harris

Jade Milan, Jackie Leon and Gianna Harris

Donna Vivino

Donna Vivino

Donna Vivino, Gianna Harris, Lamont Walker II, Jade Milan and Jackie Leon and Jackie Leon

and Hell’s Kitchen (Gianna Harris, Vanessa Ferguson, Jackie Leon, Donna Vivino, Lamont Walker II)

106.7 Lite FM’s Helen Little

106.7 Lite FM’s Helen Little is joined by Co Host Kyle Ramar Freeman

with host Helen Little and co-host Kyle Ramar Freeman.

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